一画

Every day for a year she made one small painting as a kind of visual diary of whatever was on her mind, filtered through traditional Chinese and European painterly motifs.

她在一年之中的每一天画一张视觉日记，用传统的中国和西方绘画符号纪录她每一天的思想。

It should be pointed out that Wang Liwei's painting is an utter monolog from the deep of the heart, which distinguishes himself from so-called contemporary fashionable artist. Consistent with content, explicit painting language is a kind of orient impressionistic rough manner. But we can feel life dualism in his painting, and observe a sort of subtleness, simplicity and mildness.

应该说，王立伟的画儿，完全是一种发自内心的独白，这使他有别于那些标榜当代的时尚艺术家，与这种内容相适应的外在绘画语言是一种带有东方写意感的较粗狂犷的表现方式，但透过他的画作我们也可感受到一种生命中双重性的显现，我们可以看到一种细腻、纯朴与温和。

The splattering of color is physical in nature illustrated by gesture and power but also the delight of design.

这种&泼&画，同样是切身的，城市就是在这种泼的过程中得以诞生：这种泼借助于手，借助于身体的力量和姿态，表达了一种泼的快感，表达了身体的偶发快感――这是释放的快感，是宣泄，是流出，这是身体的切身快感；另一方面，这种泼又是一种建构，一种创造，一种生产，城市，正是借助于泼，借助于手的宣泄，而获得了自己的气质和风貌。

Nearby, the ladies of the parish, a retired major, the family doctor and the local solicitor inhabit a prim street of Georgian houses, petering out into a straggle of picture-postcard cottages.

附近整洁的街道上乔治时期风格的住房里住着教区的妇女，一位退休上校，一名家庭医生和一位本地律师。街道向前延伸至一排排如画的农舍处逐渐消失。

The shrewder of the two birds watching the Concorde fly by likens it to a Tyrannosaurusrex, the favorite di-nosaur of countless little boys around the world. In reality, by the way, few birds would sit gazing at the Concorde thundering past; the roar it makes at low altitudes would have them fleeing for their lives.

画中两只鸟正看着一架协和飞机从头顶上飞过，其中一只精明的鸟将它比作霸王龙———世界各地无数小男孩喜欢的一种恐龙（顺便说一句，实际上没有哪只鸟会落在树上凝视协和飞机发出雷鸣般的轰鸣飞过，这种在低空的轰鸣早就把它们吓跑了）。

It is one thing to strum on the piano, as you and I do, faking the left-hand passages as we go along, or to daub a few patchy watercolours, or to paste on to clumsy prose some old spangles of rhetoricD, and it is quite another thing to be an accomplished musician or artist or writer.

这可不是像你我那样随手敲敲钢琴就瞎编出一段左手部分的曲子；也不是涂涂抹抹，画出一幅补丁样的水彩画；更不是用华丽的辞藻给一篇拙劣的诗歌镶上过时的闪光饰片。要成为有所成就的音乐家，艺术家或作家，可完全是另一回事。

When I see on the one side the inert bank —— for the sun acts on one side first —— and on the other this luxuriant foliage, the creation of an hour, I am affected as if in a peculiar sense I stood in the laboratory of the Artist who made the world and me —— had come to where he was still at work,sporting on this bank, and with excess of energy strewing his fresh designs about.

当我在路基的一面，因为太阳是先照射在一面的，看到的是一个毫无生气的斜面，而另外的一面上，我却看到了如此华丽的枝叶，它只是一小时的创造，我深深地被感动了，仿佛在一种特别的意义上来说，我是站在这个创造了世界和自己的大艺术家的画室中，——跑到他正在继续工作的地点去，他在这路基上嬉戏，以过多的精力到处画下了他的新颖的图案。

Petronius in his Satyricon mentions them:"There on the left as one entered…was a huge dog with a chain round its neck. It was painted on the wall and over it, in big capitals, was written: Beware of the Dog."

佩特罗尼乌斯在他的作品Satyricon中提到：&一进门左边墙上画着一幅图，图上是一只巨大的狗，狗脖子上套着一根链子，狗的上方用大写字母写着：小心恶犬。&

We wanted to make a story on diversity, an amusing story for children. That is why "Spotless" was born, the story of a white fat, ugly dog fallen in love with a wonderful black white-spotted dog lady. To win her love he decides to paint his coat with some black spots, so he turns into the finest dog in Dog Town and he wins her heart over.

那时候，正思索著要写一本大人小孩都可以看的书，於是有了 'Spotless'的诞生，内容在描述一只白色肥肥的、丑丑的小狗，爱上了一只有著黑白斑点的母狗，为此他跑去买一件衣服上面画满黑白斑纹，然后把自己变的很绅士，到了小狗城去赢得这位小姐的芳心。

This "importation" of the individual consciousness of the creator must however remain controlled. This is of the utmost importance, without constraints or measures we would fall either into the aesthetics of popular taste or into an escalation of elitist vocabulary that would weaken the language. If I myself no longer dare to use oil paints, to revisit or augment, it is due to its intrinsic overabundance of culture; having barely touched the palate, there is an immediate return to the domain of noble art. I would be too scared of creating some useless work while loosing the intensity afforded to a more direct language. Fluctuations in our cultural structure have resulted in vernacular embodying the new norm while I, in the domain of artistic language, have opted for the mode and techniques of traditional embroidery. A long while ago, during the time of the Yuan Ming Yuan artist village, I was convinced that I would run into problems if I applied myself to oil paint. I had produced next to nothing up until the day when, by coincidence, I noticed the many works of embroidery being sold at the entrance to the Summer Palace. I felt like I had finally found my mode of expression, my own personal artistic language. Due to the fact that embroidery belongs to the pre-industrial age, there is a "folkie" quality to it, rural and natural. This ill-defined modern world in which we live must also respond to the demands of "common people", the "lowly" and the "nouveau riche". In some sense, the re-appropriation of this folkloric technique was a necessity, much as it was during the time of the shift from "prose to spoken language" [1], an unavoidable consequence of social upheaval. It was not limited to a mere question of the stylistic signification of the semantic form. What embroidery embodies is a structural modification of society at its most basic level.

虽然它注入了艺术家的个人意识，但关键就是分寸感的把握，不然，或者伦为真的大众趣味，或者切入过多的经英语词汇，而使语言虚弱，就我而言，我不敢重操油画，或是改造扩充，就是由于它本身太文化了，一出手就高雅了，怕弄个不伦不类而失掉语言直接性的强度，文化结构的改变，艺术的俗语是一种趋势，从艺术语言上，我是用传统刺绣方式和手法的，早在圆明园画家村时，我几乎没有画出什么东西，油画肯定觉得使用起来有问题，在当时偶然在颐和园门前，看到很多刺绣的艺术品，一下子感到找到了方法，因为刺绣这种手段属于工业文明之前的东西，它有种土色和平民的感觉，这种也对应了时下的&平常人&、&小人物&、&暴发户&对现代化的消费趣味的追求，那种不伦不类的现代性，正好我的家乡唐山有一个很有名的刺绣厂，找师傅做作品可能更方便，有了这个想法之后，也得到朋友的鼓励，刺绣这一传统民间资源的再利用，在某种意义上说就像&白话文&始于当时社会巨大的转型出现的必然，它不单单是语言风格样式上的意义，它体现的是深层的社会文化结构改变的宣示。

This one mode pays close attention to network credence foundation of the businessman very much.

这一模式非常关注商人的网络信用基础。

Cell morphology of bacterial ghost of Pasteurella multocida was observed by scanning electron microscopy and inactivation ratio was estimated by CFU analysi.

扫描电镜观察多杀性巴氏杆菌细菌幽灵和菌落形成单位评价遗传灭活率。